The Valentine – A Tribute to Love

By Nancy Rosin

As
Valentine’s Day approaches, sentimental remembrances
dominate the shelves, and dealers entice with chocolates,
jewels, and lingerie. While modern cards bear little
resemblance to the paper confections of long ago, the
concept survives, bearing
visions of romantic love and blissful marriage. Collectors of
valentines and the related memorabilia, however, celebrate
their holiday every day, researching and sharing their
passion. Displays and articles have brought long-cherished
love tokens to new audiences, where they are being
appreciated with respect and fascination.

Messages of love span the centuries, and are interwoven with
culture and history to create a very poignant view of actual
people and their sentimental values. They enable us to
acquire a unique concept of love and romance in a different
historic period, and create an interesting chronicle of a
significant social event which was celebrated extensively by
every strata of society. Many of these love tokens were
given throughout the year, as simple tributes of love and
affection.

Puzzle Purse Valentine, dated 1816:Found in England, but probably American. Watercolor on
paper. A magical folding technique enables this to be folded
into a secure packet -- once opened, it is difficult to
reassemble. The folds are numbered, and as opened,
gradually reveal separate images and poems. The prize at the
center is often a romantic image or poem, and perhaps --
a special memento such as a ring or a lock of hair.

Within this category, there is something of special interest
for everyone, as Valentines are far from limiting. The
preservation of sentimentality, love, artistry, elegance,
and accompanying history, make it an incomparable subject.
Beyond the sugary open-outs, there is a wealth of
beautiful material that is largely unknown. The subject
permeated literature stimulated artists and passionately
encouraged the creation of lasting treasures. They provide
numerous areas for cross collecting, for the addition
of these seemingly disparate items may actually enhance a
collection. Impressive items appear on the market with
surprising frequency, so even the rarest examples are not
impossible to find.

Woven hearts & hand with endless
knot of hair:
An example of an amazing handmade treasure,
c.1850. Two delicate pink paper hearts are woven
together, and then, eight tiny gold paper hearts
are woven into the corners. In the center of that
treasure, a tiny woven paper heart and hand sit
atop a carefully woven, endless knot of love.
Tenderly coiled lock of the owners’ hair – its
romantic significance could hardly be lost by
the recipient!

Valentine
production was affected by a timeline of events, such as
wars, the Industrial Revolution, changes in the postal
system, and politics; enabling one to focus on a specific
area of interest. A relatively inexpensive assortment can
provide infinite rewards, while a sophisticated collection,
requiring more dedication, may provide far-reaching
potential for real research and investment. Both satisfy
that genetic inclination to shop the shows, savor the
camaraderie of the collecting atmosphere, and enrich one’s
life!

Research into early texts provides interesting insights into
the history of Valentine’s Day. For example, the earliest
piece in my collection is a page from the Nuremburg
Chronicle, printed in Latin in 1493, providing the first
reference to the martyrdom of Valentinus; the first
reference to the pairing of birds on Saint Volontyne’s
Day appears even earlier in Geoffrey Chaucer’s
Parliament of Fowles. In the seventeenth century, Samuel
Pepys recorded in his Diary, that jewelry, gloves,
and a paper valentine were gifts on Saint Valentine’s
morning, along with the promise of a person as a Valentine
for the coming year. Until that time, the Valentine had
been the person chosen by lottery. Valentine writers,
early chapbooks that provided poetry for suitors lacking the
talent to create original romantic verses, provide a curious
perspective of people – so similar to us – who
enthusiastically participated in the annual festival.

Devotional circa 1700: Among the earliest tokens of
affection, and the precursor of lace paper, these
hand-cut religious gifts were treasured. They are
probably the most sought-after of Valentine
collectibles, both for their history and artistry,
as well as for the emotion associated with their
enduring love. Hearts and flowers, a delicate swag,
and a festive border frame the central cartouche
with its gouache painting of St. Paul. [Parchment,
knife-cut, c1700-1750. France or Germany.
2-1/2”x4”]

From the late fifteenth to the mid-nineteenth century, small
papercuts known as Devotionals were created for the
joy of the artists’ religious faith. From convents in
French and German-speaking areas, there emanated beautifully
executed works of art, which are still cherished today for
their exquisite designs and their incredible delicacy.
Vellum was delicately knife-cut, the artistry emulating the
finest tatted lace, and often adorned with gouache
miniatures of saints. Commemorating a wedding, baptism,
birth, memorial, or Valentine, one might have been cherished
within the pages of a family Bible or album – only to be
discovered centuries later by an ardent collector.
Following the elusive “evolution of the Valentine” has been
a fascinating journey, and a revelation to discover the
breadth of the subject, as well as the depth of the passion
involved. In this instance, the passion was a religious
fervor, and the resulting creations were sold for the
purpose of charity. This was a sacred love token – as pure
as the basic concept of love. Their unique form and beauty
make them a significant link in the development of the
Valentine, and help us to understand their important role in
the intimate personal communication between friends and
lovers so many years ago. Later cutwork is more familiar to
us, with their generally secular themes. Created as tender
gifts reflecting immigrant customs, or by parlour craft
projects fashioned by sophisticated romantics, they are
coveted by collectors, and may reach astounding prices.

Elaborate
lace quarto:
Double-layered, openwork, cameo-embossed lace by the English
firm of Joseph Meek, circa 1850, reflects the epitome of
the workmanship of “The Golden Era.” The top layer is
adorned with cabochon “faux jewels”, silk chiffon and
silver Dresden die-cuts; a central window, bordered with a
wreath of silvered leaves, reveals a subtle image of flowers
-- a message written in the Language of Flowers. When
the top layer is lifted, the flowers are revealed as an
exquisite watercolor painting. [8” x 10“]

Cobweb: Hand-colored
lithograph on Burke embossed cameo lace paper.
England, circa 1840s. 8” x 10” The delicate silk
thread is gently lifted from its bed of roses to
reveal a superb cutwork cobweb containing a painted
image and a message. A secret token -- a lock of
hair or even a ring, might be secreted within its’
web. The moss rose signifies “superior merit” -- as
would be expected of the recipient of such a
valuable treasure!

Manufacturers of early paper
were inspired by the designs, and the motifs, along with the
Sacred Heart, endured during the evolution from handmade to
manufactured. As the precursor of the magnificent
machine-made lace paper marvels, these hand-cut designs are
notable landmarks to a modern collection, and are still
occasionally available.

The
fine early paper artisans resided in Austria and Germany,
where cards became traditional ways to honor the New Year,
Friendship, and Name Day occasions. During the later
eighteenth century, as they became more sophisticated, they
acquired elegant cameo-embossed, satin-covered surfaces, and
often incorporated tempting secret panels and hidden
messages. Mechanical cards were a popular invention, and
cobwebs and open-work lace paper were not unknown. The
Biedermeier Period, circa 1820, recognized for elegance in
furniture and design, also stimulated the creation of some
of the most elegant greetings ever seen. Tiny hand-painted
and embossed paper ornaments, gilded die-cuts, or
mother-of-pearl were affixed to silk chiffon, and framed
with engraved messages, to create beautiful compositions.
Unique and rare, the Fabergé-like treasures were among the
finest examples available for the sentimental affluent.
Today’s collector still seeks these paper jewels to crown
their own collections.

Open-work cameo embossing, English circa
1850: Often these were used to enclose small tissue-wrapped
packets of perfumed cotton wadding -- creating a glorious
sachet. The opening would have been embellished with a
die-cut scrap or motto.

The
manufacture of cameo-embossed lace paper reached its peak in
England in the first half of the nineteenth century.
Competitive companies applied rag pulp to steel plates, from
which emerged cherubs, couples, the church (bastion of holy
matrimony and wedded bliss), romantic imagery inspired by
mythology, poetry and nature, and borders reminiscent of
handmade lace. The beauty of the assembled collages –
confections that incorporated lace paper, metallic Dresden
ornaments, ribbons and flowers – proved irresistible.
Engravings and hand-colored lithographs, both sentimental
and satirical, puzzles and poetry, all added to the
comprehensive offerings, based on price, style, and theme.
Used as a canvas for elegant calligraphic script, these
papers remain the pinnacle of manufactured stationery, and
were essential to the
refined art of letter writing. Accompanied by
elegant pens and love letter seals, they created the elegant
correspondence, which defined an era.

Long associated with the exchange of Valentines, is the
delicious ingredient of mystery. Recipients were challenged
to discover the identity of anonymous admirers, as
mysteriously unsigned missives might be slipped under the
door, tied to the doorknob, delivered by the postman, as
well as transported by courier, coach, or rail. The
tradition was an important aspect of nineteenth century
life, where romance and death were regularly feted in
albums, poetry, and art. The holiday was so widely
celebrated that by the 1830s, it is said that 60,000
valentines passed through the London post office. By 1857,
three million valentines were sold in New York City, the
number reaching nearly a billion, by 2002.

“Maria
French” Lace Valentine:

A mid-nineteenth century valentine addressed
to Miss Maria French. Usually found in less
impressive versions, costly imported English lace-paper is
the background for this romantic scene. [Manufactured by
Mansell, and watermarked “Towgood 1855” 6 ¾” x 4 ½”]

[Below] “Maria French” Envelope:
The lace treasure was preserved, carefully enclosed within
the famous Romeo and Juliette envelope. Printed here in
red, white and blue, it was also found in green and red.
Factory Point, Vermont, now known as Manchester , happens
to be the location of Hildene, the former summer home of
Robert Todd Lincoln, eldest son of Abraham Lincoln and Mary
Todd Lincoln. [5”x7”]

The earliest American valentines were handmade and are now
coveted as folk art. Cut paper, known as scherenschnitte,
and fraktur liebesbriefe, or love letters, reflect
the influence of the German immigrants. School girl
drawings, theorems, cut paper, and shell baskets are
examples of classic expressions of love learned from school
or contemporary publications. The Language of
Flowers
provided an important tool, as hearts and flowers remained
the eternal emblems of love. Octagonal boxes
containing ornate shell compositions, generally made in the
Bahamas, and scrimshaw love tokens such as busks, boxes, and
pie crimpers are other expressions of love, which would be
enjoyed by collectors of nautical items. The overlap
is apparent, and thus the increased interest and value of
many of these highly sought antiques. They belong in the
hands of any appreciative collector who understands their
relevance, and will cherish them.

Typical small Esther Howland
Valentines utilized the glazed paper wafers, hinges,
and lace paper, and varied according to price.

Esther Howland was a visionary who had a lasting impact upon
Valentine history. While she was not the first to create
Valentines in America, she is credited with having
popularized the lace valentine, and propelling it into a
major industry. Using a truly innovative concept, she
recruited friends and established her now-famous all-female
production line. Additionally, she initiated a cottage
industry. Supplies, including a template, would be delivered
by her coachmen to ladies in the vicinity, made to her
specifications, and collected a few days later. The
wondrous creations – with multiple layers, die-cuts, Baxter
prints, Dresden ornamentation, and personal mottos inside –
would then be sold throughout the country. Starting with
Leap Year cards she created for her friends at the Mount
Holyoke Female Seminary in 1848, a business was established
which yielded more than $100,000 annually. Specific
markings identify these to the collector, and are keenly
sought.

The famous Howland label:
A paper sticker
with a red “H-10”. The number refers to the price, “ten
cents.” I have found labels, printed or stickers, ranging
from ten cents to two dollars. The large extravaganzas are
said to have cost $30 to $50 at that time! One could have
purchased a horse and carriage for the price of one of her
Valentines!

Valentine by
Esther Howland, Worcester, Massachusetts [1828-1904]
While other manufacturers competed for the affection of the
public, none could compete with the quality, taste, and
style of Esther Howland. Designing and creating these
memorable missives required artistry and inspiration, as
well as a touch of magic. The finished products evoked
fantasy and romance, and set a trend for more than thirty
years.

Howland Valentine:This classic example of a fine Howland valentine
uses gilded lace paper made in England by Mossman,
die-cut scraps, and lovely lavender glazed paper.
Orange wafers have been placed beneath the lace in
an ingenious invention which enhances the impact of
the pattern. The folded paper springs enable the
separate layers to rise up, creating a dramatic
shadow-box effect. The motto has been placed
within. Note the eagle with an American flag, as
well as, within the lace pattern, cherubs, and the
Altar of Love. [Circa 1860. Printed in red ink on
reverse: H-100, indicating $1.00 -- which was very
expensive at that time. 7” x 4 ¾”]

Attributed to Esther Howland: This is
the classic bouquet that has been attributed to
Esther Howland; the built-up collage of heavily
embossed and painted flowers is applied to delicate
lace paper, and would have been part of a
multi-layered confection. None of these have been
found with her label or marks, so it is not possible
to make a definite origin.

Silvered lace-paper manufactured by Mullord
in England, is shaped as a lyre, the attribute of Apollo,
and symbol of marital harmony. The bar across the top
represents the torch of Hymen, God of Marriage. The peacock
on the front may have been one of the sacred pair that drew
the chariot of the King and Queen of the Greek gods, Zeus
and Hera. Since a die-cut chariot is on the reverse, this
becomes a complete story, perhaps even a proposal. Esther
Howland felt that the sentiment was personal, and generally
placed them inside. On the reverse, printed in red ink:
H-25. [Circa 1860. Closed, 3-3/4” x 3-3/4”]

Serious history buffs will discover fascinating
Civil War material. Rare examples feature
photographs of the soldiers in uniform, or letters
describing the war scenes, further illustrating that
these ephemeral treasures were often a vital
connection to home and loved ones. They fortified
the soldier to persevere – knowing there was a
beloved person awaiting his return.

The Soldiers' Tent: The most famous valentine image from
the period, the tent is symbolically draped with the
American flag. Within the tent, the soldier is shown
writing to his beloved, who is seen in his dream.
Sent February 14, 1863:

“Dear Sister … I must stop riteing (sic) for this time for I must tend to my gard (sic)
… Amos Winner.

This was sent from Camp Stoneman,
near Meridian Hill, part of the extensive
fortification network of the District of Columbia;
and coincidentally, near the collectors' childhood
home. [9 1/4” x 7 1/2”]

Valentine by Kate Greenaway:
England, circa 1870. Design from an
illustration for the book, Melcomb Manor, a
Family Chronicle. Printed by Marcus Ward,
London,1875.

Sailor’s Valentine: This exquisite example of an early Sailor’s
Valentine is unique because of the raised floral
wreath, dating it circa 1830. There is a similar
one in the Victoria and Albert Museum, London,
a gift of Queen Mary. The large octagonal frame
is mahogany, rather than the usual cedar, with
an ivory escutcheon. The central wreath, mounted en tremblant, rests on a raised silk
base, and may even have been a wedding
hairpiece.

While artists influenced the designs of many pieces,
unskilled, loving hands inspired and created my most
sentimental treasures. Purity and simplicity are their most
appealing aspects, as they are a personal connection to
intimate links with the past. Wherever I look, I find
valentines and related memorabilia. From my treasured
Sailors Farewell pitchers, and the textile sailors’ bundles
on the walls, to Elizabeth Cobbold’s majestic papercuts, or
a Pennsylvania fraktur, I celebrate Valentine’s Day
every day! Treasures such as a lock of hair woven into an
endless knot of love, romantic games, watch papers, and fans
– possessing their own language – enchant, as not all
Valentines are paper lace. Even the related advertising
materials have their vital niche. These intensely personal
and wonderful mementos demonstrate the relevance of
expressions of love throughout history, how they have
permeated art and life, and passionately celebrate the
tradition of The Valentine.

Winsch postcard
- Design by Samuel L. Schmucker, and printed by
the Winsch Publishing Company in 1910. Postcards
became the natural evolution of the Valentine as
the Industrial Revolution changed the styles in
paper tokens of affection.

About the author: Nancy Rosin is President of the National Valentine Collector’s Association and Vice-President of the Ephemera Society of America. Her web site, Nancy Rosin’s Victorian Treasury, contains a wealth of information about the history of valentines, information about the National Valentine Collectors Association, plus Nancy Rosin’s posters, antique and vintage valentines, collectors’ video, and reproduction greetings.